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The 

ART  OF  ENAMELING 

ON 

PORCELAIN 


By 


DOROTHEA  WARREN  O’HARA 


Copyrighted  1912. 

By 

Dorothea  Warren  O’Hara. 


All  rights  reserved. 


PhG.  La’c  FI  'i  CENTEn 

LIBRARY 


CONTENTS. 


CHAPTER 

CHAPTER 

CHAPTER 

CHAPTER 

CHAPTER 

CHAPTER 

CHAPTER 

CHAPTER 


PREFACE. 

I — Introduction 

II —  Soft  Enamels 

III —  Hard  Enamels 

IV —  Flat  Enamels 

V —  Mixing  Enamels 

VI —  Application  of  Enamels 

VII —  Outlining  Enamels 

VIII —  Firing  Enamels 


3 


jaw.otoRA- 

PREFACE. 


The  aim  of  this  book  is  to  help  the  Keramic  Decorators  of 
America,  by  presenting  a correct  kind  of  decoration  by  which  even 
the  young  student  can  express  some  beauty  with  comparatively  small 
effort. 

Few  Keramic  workers  are  within  easy  reach  of  museums  or 
even  good  books  or  photographs  to  develop  the  thought  and  fine  feel- 
ing so  essential  to  good  work.  They  are  struggling  along,  doing 
elaborately  atrocious  things,  because  the  right  thing  has  never  been 
presented  to  them. 

This  class  of  workers  I am  especially  eager  to  help,  not  by  go- 
ing into  the  history  of  enameling  on  porcelain,  nor  by  giving  formulas 
for  making  enamels  (the  libraries  are  full  of  such  knowledge),  but 
by  suggesting  a practical,  artistic  way  of  decorating  our  American 
china,  and  also  the  china  brought  into  this  country,  with  enamels  which 
are  very  easily  procured.  The  numerous  illustrations  should  be  very 
helpful  in  showing  ways  of  using  enamels.  Some  of  the  illustra- 
tions are  copies  and  photographs  of  the  best  examples  of  old  Chinese 
and  Japanese  enameling  on  porcelain  to  be  found  in  this  country  or 
in  Europe,  while  the  others  are  good  examples  of  present-day  work. 

Dorothea  Warren  O’Hara, 

1 32  East  1 9th  Street, 

New  York  City,  September,  1912. 


BELLEEK  CRACKER  JAR,  NO.  1. 

This  jar  is  from  Lenox  Incorporated,  Trenton,  N.  J.,  after  original  draw- 
ing by  Mrs.  Dorothea  Warren  O’Hara.  Decoration:  Five  panels,  with  bell 

shape  flower  in  pot.  Colorings:  Brown,  Green  and  Lavender.  Outlining  and 

scribble  done  in  Dark  Brown  color.  Second  fire  a light  tint  of  Dark  Brown 
color  was  put  over  scribble.  Flower  pot:  Brown  Enamel.  Leaves,  Green 

Enamel,  No.  2.  Flowers:  Lavender  Enamel  and  Dull  Violet  Enamel. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 

6 


I. 

INTRODUCTION. 

Every  ceramic  decorator  knows  something  about  enamels,  but 
the  knowledge  of  really  good  enameling  on  porcelain  is  a compara- 
tively unexplored  field  to  us. 

In  ancient  times  the  process  of  enamel  decoration  on  porcelain 
was  carried  to  a very  high  state  of  perfection.  The  old  Chinese  cre- 
ated masterpieces  of  ceramics  which  are  unsurpassed  to-day,  and  we 
are  told  that  these  wonderful  old  enamelers  had  neither  our  scientific 
knowledge  nor  our  resources  for  pure  chemical  products.  However 
limited  their  material  resources,  their  patience  and  perseverance,  which 
we  seem  in  this  age  not  to  possess,  over-balanced  all  else. 

Sir  George  C.  M.  Birdwood  in  “The  Industrial  Arts  of  India” 
speaks  of  enameling  as  the  Master  Art  Craft  of  the  world.  This 
broad  assertion  includes  cloisonne,  champleve  and  painted  enamels, 
both  on  porcelain  and  metal. 

Cloisonne  and  champleve  are  essentially  goldsmiths’  devices  and 
should  not  be  confused  with  artistic  enameling  on  porcelain.  The 
old  Chinese  themselves  considered  metal  a far  less  noble  object  for 
the  art  of  the  enameler  than  porcelain.  The  metal  body  however 
thin,  gives  out  a metallic  ring  when  struck  instead  of  the  clear,  musical 
note  which  distinguishes  porcelain. 

It  is  the  painted  enamels  on  porcelain  with  which  we  have  to 
deal.  The  term  painted  enamel  is  misleading,  as  the  enamel  is  really 
floated  on  and  not  painted  on,  but  the  expression  “painted  enamel” 
has  come  to  be  used  to  distinguish  it  from  cloisonne  and  champleve. 

What  I have  said  here  relative  to  painted  enamels  should  not  be 
confused  with  the  Limoges  enamels  of  the  sixteenth  and  seventeenth 


7 


PORCELAIN  BOTTLE,  NO.  2. 

Decoration:  Plum  Blossoms.  Mei  Hua  P’ing  Period.  South  Kensington  Museum. 


8 


centuries,  or  the  old  Battersea  enamels,  both  of  which  were  carried  over 
to  China  and  are  now  spoken  of  as  Canton  enamels.  These  enamels 
were  shaded  up  and  worked  over  until  they  lost  rank  as  decorative 
art.  They  were  stigmatized  by  the  Chinese,  from  the  very  first,  as 
foreign  art,  and  never  took  firm  root  in  their  country.  The  good  ex- 
amples of  painted  enamel,  which  are  numerous,  compare  favorably 
with  the  old  cloisonne  and  champleve  enamel  in  the  splendid  decora- 
tive quality  and  effect  which  result  from  subordinating  the  pictorial 
to  the  decorative  character. 

Painted  enamel  is  a spontaneous,  direct  kind  of  work,  with  or 
without  outline,  which  every  ceramic  student  can  accomplish  in  his 
own  little  studio  without  all  the  laborious  work  of  making  enamels 
out  of  ore  as  the  Orientals  were  obliged  to  do. 

Nowadays  the  most  superior  products  can  be  purchased  by  every- 
one. Enamels  beautiful  in  color,  rivaling  the  old  Chinese  pinks,  blues, 
early  Egyptian  Turquoise  and  Persian  glazes.  Also  enamels  to  suit 
the  different  kinds  of  wares,  which  is  most  essential  as  there  should 
always  be  a perfect  agreement  existing  between  the  glaze  and  the 
enamel. 

We  have  so  much  at  hand  to  produce  good  work!  Think  of 
the  lovely  soft  glaze  wares  our  American  potteries  are  turning  out! 
Could  anything  be  quite  so  appropriate  as  an  enamel  decoration  for 
Belleek?  The  creamy  glaze  affords  many  ways  of  expressing  great 
beauty  by  the  application  of  enamel.  Backgrounds  may  be  floated 
in  low  relief  with  design  in  high  relief,  large  bold  flower  designs  with 
successive  applications  of  enamel  raising  the  design  very  high,  or 
dainty  little  borders  with  gold  dotted  backgrounds.  Graceful  tea 


9 


BELLEEK  TEA  SET,  NO.  3. 

Decoration:  Hanging  baskets  of  flowers.  Baskets:  Dark  Blue  Enamel.  Flow- 
ers: Pink  Enamel,  No.  2;  Deep  Pink  Enamel,  Light  Yellow  Enamel,  Turquoise  Blue 
Enamel,  and  Lavender  Enamel.  Leaves:  Green  Enamel,  No.  1,  and  New 
Green  Enamel.  Tint:  Dorothea  Blue. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


10 


sets  with  hanging  baskets  of  fruit  and  flowers,  all  worked  out  with 
enamels,  in  fact  there  is  no  end  to  the  beautiful  ways  of  using  enamel. 

Those  of  us  who  are  situated  so  we  can  see  fine  examples  in  the 
Museums  and  elsewhere  are  fortunate  indeed  and  should  hesitate  for 
that  reason,  if  for  no  other,  before  using  the  kind  of  decoration  some 
of  us  do. 

In  one  of  Mr.  Lewis  F.  Day’s  text  books,  “The  Application  of 
Ornament,”  he  speaks  of  this  very  kind  of  decoration  as  being  the 
only  kind  at  which  to  aim.  In  the  chapter  “Where  to  stop  in  Orna- 
ment,” he  says:  “However  limited  the  resources  of  an  art,  a man 

knows  them,  or  should  know  them,  when  he  takes  it  up.  Besides, 
every  medium  has  its  inherent  advantages  as  well  as  its  limits,  and  it  is 
these  which  should  be  turned  to  account.  There  is  a liquid  and  trans- 
parent quality  in  water-color,  which  every  water-color  painter  wishes 
he  could  retain  beyond  the  wet  stage  of  his  picture.  This  is  just  what 
the  china  painter  can  get,  without  the  least  trouble,  by  simply  floating 
on  his  color  with  a full  brush.  Surely,  then,  that  is  the  kind  of  thing 
to  aim  at,  when  it  is  within  easy  reach;  instead  of  fidgeting  it,  or 
stippling  it,  or  dabbing  it  with  cotton  wool,  to  the  dull  evenness  so 
dear  to  the  commercial  mind;  or  otherwise  laboriously  seeking  effects 
more  easily  and  much  better  produced  by  other  means.  That  loose, 
juicy,  pot-like  look  is  more  valuable  in  ceramic  painting  than  any 
degree  of  mere  finish,  and  should  be  valued  accordingly.” 

This  idea  of  ceramic  decoration  can  be  carried  out  to  perfection 
with  these  enamels.  But  before  we  can  express  the  highest  quality 
of  work  let  us  take  the  trouble  to  get  behind,  as  it  were,  the  obvious, 
to  what  after  all  is  the  real  thing. 


11 


HEXAGONAL  PORCELAIN  LANTERN,  NO.  4. 

Decorated  in  Famille  Rose  Enamels.  Salting  Collection. 
South  Kensington  Museum. 


12 


II. 


SOFT  ENAMELS. 

The  secret  of  good  enamel  work  is  to  choose  an  enamel  which 
suits  your  glaze.  Soft  enamels  belong  to  the  soft  glaze  wares,  such  as 
Satsuma,  Belleek,  English  China,  soft  German  China,  etc.,  etc.,  and 
may  be  raised  in  relief  as  high  as  desired  with  the  feeling  of  true 
appropriateness  if  used  on  the  chinas  with  which  they  agree. 

Good  results  with  soft  enamels  have  been  accomplished  by  very 
young  students  proving  that  a simple  direct  method  is  conducive  to 
better  decoration  in  our  studios. 

Soft  enamels  may  be  floated  in  high  relief  for  one  fire,  if  the 
technique  has  been  mastered,  otherwise  the  floating  will  be  nicer  by 
the  second  application.  This  is  especially  true  in  the  case  of  large 
backgrounds  or  big  flower  designs.  For  example,  No.  5,  the  Sat- 
suma  box  with  the  large  white  flower,  was  raised  in  relief  by  four 
applications  of  enamel.  White  enamel  has  always  been  more  difficult 
to  raise  in  high  relief  than  any  of  the  colored  enamels,  this  difficulty 
has  been  entirely  overcome  by  the  preparation  of  a tough,  elastic 
enamel  to  be  used  as  a foundation  for  the  soft  enamel.  Reamhite 
No.  2 is  a tough  cream  white  enamel  and  is  very  desirable  as  a founda- 
tion for  the  soft  Reamhite,  No.  1 . By  the  use  of  these  two  enamels 
this  can  be  accomplished  with  perfect  safety. 

As  soft  enamels  on  soft  glazes  may  be  fired  a number  of  times, 
there  is  really  no  reason  for  turning  out  a bad  piece  of  soft  enamel 
work. 


13 


Reamhite  Enamel,  No.  2,  was  used  for  flower  for  first  fire.  Reamhite  Enamel, 
No.  1,  for  second  fire.  Dull  Yellow  Enamel  for  center.  Blue  Green  Enamel  for 
bands  and  leaves.  Satsuma  color  used  for  tint. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


SATSUMA  BOX,  NO.  5. 


14 


Untidy  work  can  be  cleaned  up  and  brought  out  by  re-outlining. 

If  your  color  harmony  has  been  lost  or  your  design  does  not  hold 
together,  an  envelop  of  color  will  serve  to  fix  up  the  work.  Sometimes 
lovely  effects  are  produced  by  these  tones  of  color: — Warm  gray, 
Satsuma,  yellow  gray,  gray  green,  or  any  of  the  neutral  colors  are 
desirable  for  this  purpose.  A safe  medium  to  mix  color  for  toning 
over  enamels  is  Warren’s  Painting  Medium. 

Soft  enamels  may  be  shaded  with  color;  the  center  of  a flower 
shaded,  or  a flower  made  deeper,  also  leaves  may  be  shaded  with  a 
little  violet  or  ruby  if  they  seem  too  bright  when  they  come  from  the 
kiln. 

Care  should  be  taken  not  to  be  led  astray,  as  one  can  carry  this 
shading  too  far  and  bring  perspective  into  the  design  and  also  pro- 
duce a labored  appearance  which  destroys  the  real  beauty  of  enamel 
decoration.  But  if  the  shading  is  done  sparingly  and  artistically,  it 
sometimes  enhances  the  beauty  of  the  design. 

Fine  effects  are  obtained  with  the  soft  enamels  by  floating  one 
color  over  another  and  firing  hard  enough  to  bring  the  under  color  up. 
For  example,  green  enamel  No.  1,  floated  into  a background  and 
dark  blue  enamel  floated  on  after  the  green  has  been  fired  will  pro- 
duce a wonderfully  beautiful  effect,  the  green  coming  up  in  form 
of  crystals.  A coat  of  green  luster  over  the  whole  gives  a charming 
dull  effect. 

Soft  enamels  on  soft  glazes  are  less  difficult  to  handle  than  hard 
enamels  on  hard  glazes.  This  makes  it  advisable  for  students  to  select 
soft  glaze  wares  to  work  on  until  all  fear  of  enamels  being  so  difficult 
to  use  successfully,  is  overcome,  and  you  are  the  master  of  the  ma- 
terials. 


15 


BELLEEK  VASE,  NO.  6. 

This  vase  is  from  the  New  Jersey  Pottery  Co.  (Willett’s),  of  Trenton,  N.  J. 
After  original  drawing  by  Mrs.  Dorothea  Warren  O’Hara. 

Decoration:  Five  hanging  baskets  of  fruit  and  leaves,  with  small  sprig  design 
in  panels.  Leaves:  Green  Enamel,  No.  2.  Pineapple:  Persian  Red  Enamel.  Large 
Apples:  Dark  Yellow  Enamel.  Dark  Apples:  Rhodian  Red.  Small  apples  in  back: 
Dull  Yellow  Enamel.  Small  sprigs:  Persian  Red  Enamel  and  Green  Enamel,  No.  2. 
Small  dark  panels  at  top : Persian  Red  Enamel,  with  centers  of  Dark  Yellow. 
Baskets  and  bands  of  gold. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 

16 


III. 


HARD  ENAMELS. 

Hard  enamels  are  made  to  fit  hard  glazes  such  as  hard  French, 
or  German  china,  etc.  They  should  be  applied  thinly  to  produce  a 
liquid,  transparent  effect.  If  applied  in  high  relief,  a fine  sense  of 
fitness  will  be  lost.  Low  relief  and  even  very  flat  enamel  is  much 
more  artistic  on  hard  glazes,  especially  for  table  ware.  Intuitively, 
one  should  feel  the  inappropriateness  and  loss  of  fineness  of  enamel  in 
high  relief,  on  a hard  glaze. 

Enamels  on  hard  glazes  will  not  always  stand  repeated  firing. 
This  limitation  prohibits  the  same  amount  of  freedom  one  has  with 
soft  enamels  on  soft  glazes.  But  perhaps  this  very  limitation  is  for 
our  good.  Some  of  us  might  be  tempted  to  pile  the  enamel  up  until 
it  becomes  pasty  and  loses  all  semblance  of  beauty. 

Let  us  aim  at  precisely  what  the  limits  of  hard  enamel  will  allow 
us  to  do  and  not  waste  our  energies  by  striving  after  something  im- 
possible and  even  ugly,  by  going  beyond  the  boundaries  of  this  field 
of  the  most  fascinating  kind  of  ceramic  decoration. 


17 


FRENCH  CHINA  BOWL,  NO.  7. 


Decoration : Sprig  and  panel  design  of  apple  blossom.  Blossom  and  leaves  in 
panel  and  inside  band  done  in  Sevres  Blue  Enamel.  Background,  inside  band  leaves 
and  stems  of  sprigs,  done  in  Rouen  Blue  Enamel.  Sprig  blossoms : Sevres  Blue 
Enamel.  The  center  of  all  the  blossoms  done  in  Dull  Blue  Green  Enamel. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


IV. 


FLAT  ENAMELS. 

The  term  Flat  Enamel  means  a color  made  translucent  by  add- 
ing glaze.  These  glazes  are  soft  enamel  bodies,  and  when  mixed 
with  color  and  applied  thinly,  produce  a liquid  quality  which  has  the 
effect  of  under-glaze,  and  is  very  desirable  for  hard  glazes. 

The  proportion  of  glaze  added  to  color  varies  according  to  color. 
Some  colors  are  more  transparent  than  others  and  naturally  require 
less  glaze,  but  the  general  rule  is  to  add  one  part  glaze  to  four  parts 
color. 

Waterloo  glaze  is  the  softest  of  all  the  glazes  and  can  be  used 
with  all  colors.  The  usual  amount  of  this  glaze  to  color  is  one  part 
glaze  to  five  parts  color.  As  Waterloo  glaze  is  a light  blue  gray  violet 
in  color  it  has  a tendency  to  give  a little  tone  of  gray  to  all  the  color 
with  which  it  is  mixed.  This  is  very  desirable  for  many  things,  but 
when  a clear  yellow,  pink,  blue  or  green  is  wanted,  the  glaze  to  match 
the  color  should  be  used. 

Many  lovely  old-fashioned  pinks  are  made  from  ruby.  A 
quaint  old  magenta  pink,  made  with  five  parts  ruby  and  one  part 


19 


APPLE  DESIGN,  NO.  9. 

This  design  copyrighted,  1912,  by  Dorothea  Warren  O’Hara. 


20 


Waterloo  glaze  is  useful  with  dull  blues  and  greens  in  doing  little 
sprig  designs  such  as  example  No.  8. 

Example  No.  9.  The  plate  with  the  little  apple  design  was 
carried  out  in  flat  enamels.  Albert  yellow  for  the  light  apple,  yellow 
brown  for  the  dark  apples  and  apple  green  for  the  leaves  and  inside 
band.  Royal  blue  for  the  little  mounds,  and  the  band  on  edge.  To 
the  yellow,  yellow  brown  and  apple  green,  soft  yellow  glaze  was 
added  as  follows:  one  part  glaze  to  four  parts  color.  To  the  Royal 
blue,  Waterloo  glaze  was  added  as  follows:  one  part  glaze  to  four 
parts  color.  Dainty,  refined  designs  should  be  selected  for  fiat  enamel 
as  the  enamel  is  applied  very  thinly  and  is  not  an  appropriate  medium 
for  working  out  heavy  designs  with  backgrounds. 


SPRIG  DESIGN,  NO.  8. 


21 


SOFT  GLAZE  JAPANESE  BOWL,  NO.  10. 

Old  Egyptian  Turquoise  Enamel  for  flowers.  Dark  Blue  Enamel  for  leaves 
and  bands. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


22 


V. 


MIXING  ENAMELS. 

Place  your  enamel  on  a very  clean  ground  glass  slab.  Add 
enough  Warren’s  enamel  medium  to  gather  together,  and  thin  with 
a good  quality  of  turpentine  (observe  that  the  turpentine  is  not  oily), 
fat  oil  which  comes  from  turpentine  often  causes  the  enamel  to  blister. 

Some  enamelers  use  fat  oil  to  gather  the  enamel  together  and 
thin  out  with  turpentine.  This  is  not  a good  method.  The  applica- 
tion of  enamel  mixed  in  this  way  is  much  more  difficult  and  nothing 
like  as  safe.  For  this  reason  I recommend  the  above  named  medium. 
Dresden  thick  oil  and  fat  oil  are  dangerous  oils  for  a beginner. 

Great  care  should  be  taken  in  the  mixing  of  enamels.  A person 
who  puts  no  thought  into  his  work  is  most  likely  to  have  his  enamels 
come  from  the  kiln  blistered  from  oily  turpentine,  or  full  of  pit  holes 
from  too  little  grinding,  and  then  wonder  why  his  enamels  are  not 
good,  when  he  has  not  even  made  sufficient  effort  to  see  that  his  slab, 
palette  knife  and  muller  for  grinding  are  clean  and  free  from  lint. 
Enamel  should  be  ground  until  creamy.  It  is  much  easier  to  float 
when  thoroughly  ground  and  certainly  looks  better  when  fired.  After 
your  enamel  has  been  floated  on,  if  it  seems  inclined  to  run,  you  have 
used  too  much  enamel  medium,  or  your  turpentine  is  oily.  Your 
remedy  is  to  add  more  enamel,  and  be  sure  your  turpentine  is  fresh. 
Enamel  should  look  dull  a few  minutes  after  it  has  been  applied, 
showing  it  has  begun  to  dry  out.  If  it  retains  the  highly  glazed  ap- 
pearance it  had  when  first  applied,  you  have  not  mixed  it  properly.  A 
little  experimenting  may  be  necessary  before  sending  your  work  to 
the  kiln.  The  use  of  plenty  of  good  quality  turpentine  is  always  ad- 
visable and  enough  enamel  medium  to  have  your  enamel  flow  freely 
from  your  brush  and  not  dry  so  quickly  that  you  are  unable  to  float  it 
on  with  care  because  of  the  hurried  feeling  that  it  is  getting  dry. 

If  we  do  not  exercise  these  precautions  we  should  not  expect 
proper  results. 


SATSUMA  CRACKER  JAR,  NO.  11. 

Decoration:  All-over  pattern.  Flowers:  Reamhite,  No.  1 Enamel  for  light 

part;  Lavender  Enamel  for  dark  part,  and  Light  Yellow  Enamel  for  center.  Leaves: 
Brown  Enamel.  Background  : Blue  Green  Enamel.  After  firing  for  last  time  the 
jar  was  soaked  in  the  strongest  black  tea  for  four  days  to  bring  out  the  crackle  of 
the  Satsuma,  and  to  also  give  it  a very  old  appearance.  It  is  recommended  by  some 
that  Satsuma  should  be  boiled  for  several  hours,  but  experience  teaches  that  better 
results  are  attained  by  soaking  for  several  days. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


24 


VI. 


APPLICATION  OF  ENAMEL. 

The  technique  of  floating  enamel  is  simple  when  one  under- 
stands that  enamel  is  not  painted  on  but  really  FLOATED  on  with 
a full  brush.  A Japanese  enameler  once  said,  “Floating  enamel  is 
just  a little  trick,”  and  so  it  is,  but  nevertheless  it  sometimes  takes  suc- 
cessive efforts  before  it  can  be  acquired.  A No.  1 or  No.  2 china 
outlining  brush  is  a desirable  brush  for  most  work.  A large  brush 
may  be  used  for  large  backgrounds.  Enamel  should  be  taken  up  with 
the  point  of  the  brush  and  floated  gently  over  the  china.  A short, 
wavy  stroke  is  best.  I will  endeavor  to  show  the  technique  by  filling 
the  little  square  with  short,  wavy  lines  to  illustrate  the  movement  of  the 
brush. 


Do  not  permit  your  brush  to  get  clogged  with  enamel ; 
wash  it  thoroughly  every  little  while  and  you  will  be  able  to 
take  up  a full  brush  of  enamel  each  time  and  have  it  flow  smoothly 
from  the  brush,  that  is,  if  your  enamel  is  kept  thinned  out  to  the  creamy 
mixture. 


25 


SOFT  GLAZE  JAPANESE  BOWL,  NO.  12. 


Large  flower,  background  of  panels,  and  background  of  inside  band,  done  in 
Dark  Blue  Enamel.  Flower  in  panels  and  inside  band,  as  well  as  center  and  rim  of 
large  flower,  done  in  Pink  Enamel,  No.  1.  Leaves:  Green  Enamel,  No.  1. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


26 


VII. 


OUTLINING  ENAMELS. 

Some  of  the  most  beautiful  enamel  work  is  done  without  outline, 
that  is  to  say,  a fired-in  outline.  To  be  sure,  the  design  may  have 
been  planned  with  pencil  or  pale  India  ink,  which  fired  away.  Lovely 
little  sprig  designs  and  bold  free  things  are  put  in  in  this  way  work- 
ing quickly  and  directly.  Geometrically  conventional  designs  should 
be  well  outlined  if  you  wish  them  to  stand  out  from  the  background. 

Good  outlining  is  absolutely  essential  to  good  enamel  work. 
Conversely,  it  is  quite  natural  to  suppose  that  poor  outlining  results 
in  poor  work  and  would  spoil  the  most  beautiful  enamel  work  possible 
to  be  done.  Your  design  should  be  perfectly  outlined  with  OUT- 
LINING BLACK  and  fired  before  floating  in  the  enamels.  If  your 
enamel  has  run  over  the  outline  in  places,  fix  it  up  before  sending  it 
to  the  kiln.  The  outlining  black  should  be  gathered  together  with 
Warren’s  Painting  medium  (not  enamel  medium)  and  thinned  with 
turpentine.  A drop  of  Warren’s  Outlining  Medium  should  be  added, 
especially  if  the  outlining  is  to  be  done  with  a pen.  This  medium  keeps 
the  color  open  and  makes  it  flow  freely  from  the  pen. 


27 


SMALL  FRENCH  CHINA  FERN  DISH,  NO.  13. 

Decoration : Flower  in  pot.  Flat  Enamels.  Flower  pots,  narrow  panels  and 

tendrils,  done  in  Royal  Blue  color  and  Turkish  Blue  color  mixed  in  equal  parts, 
with  one-fifth  Waterloo  Glaze  added.  Flowers:  Dark  Yellow  color,  four  parts, 
and  one  part  Soft  Yellow  Glaze  mixed.  Leaves:  Yellow  Green  color,  four  parts, 
and  one  part  Blue  Glaze. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


28 


VIII. 


FIRING  ENAMELS. 

There  are  no  great  difficulties  in  successfully  regulating  the  firing 
of  enamels  if  one  is  clean  and  careful  about  stacking  the  kiln,  and 
then  watchful  about  turning  the  fire  off  at  the  right  time. 

Soft  enamel  should  not  be  fired  higher  than  a gold  heat,  if  ap- 
plied thinly,  otherwise  the  enamel  loses  by  sinking  into  the  glaze  and 
will  require  another  application  of  enamel  to  bring  it  out.  The  higher 
soft  enamel  is  raised  in  relief  the  more  heat  it  requires. 

If  soft  enamel  comes  from  the  kiln  dull  and  is  not  smooth  to  the 
touch,  it  is  underfired  and  should  be  fired  again.  This  time  rather 
hard,  as  an  underfired  enamel  needs  more  heat  to  bring  it  out  than  it 
would  require,  had  it  not  been  underfired. 

Soft  enamels  on  soft  glazes  may  be  fired  a number  of  times  with- 
out fear  of  chipping  off,  but  after  the  third  fire  they  lose  some  in  bril- 
liancy. Three  applications  of  enamel  should  be  enough  to  raise  any 
design  as  high  in  relief  as  any  one  should  care  to  have  it. 

Hard  enamels  require  a good  gold  heat  if  they  are  to  be  fired  but 
once.  If  you  wish  to  tone  with  color  or  add  more  enamel  you  should 
rather  underfire  until  the  last  fire  to  prevent  chipping  off,  which  some- 
times happens  when  the  glaze  is  very  hard. 

The  cone  system  is  good  for  firing  enamels.  There  is  a cone 
for  soft  enamel,  which  is  gold  heat  and  a cone  for  hard  enamel  which 


29 


SIX  SIDED  BELLEEK  BOWL,  NO.  14. 

This  bowl  is  from  Lenox  Incorporated,  Trenton,  N.  J.,  after  original  draw- 
ing by  Mrs.  Dorothea  Warren  O’Hara. 

Decoration:  Basket  of  fruit.  Baskets:  Manchu  Blue  Enamel.  Grapes: 

Green  Enamel,  No.  1.  Pomegranite : Dark  Yellow  Enamel  for  outside,  Manganese 
Enamel  for  inside,  and  Dark  Yellow  Enamel  for  seeds.  Orange:  Rhodian  Red 
Enamel.  Apple,  Blue  Green  Enamel.  Small  apple  back  of  grapes:  Dull  Yellow 
Enamel.  Large  Apple:  Dull  Yellow  Enamel.  Leaves:  Green  Enamel,  No.  1,  and 
New  Green  Enamel.  Small  panels  and  top  and  bottom  of  bowl,  in  black 
color  with  little  design  of  grape  leaves,  done  in  Green  Enamel,  No.  1,  and 
New  Green  Enamel. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


30 


is  a little  more  than  gold  heat.  A hard  enamel  applied  thinly  really 
requires  the  same  heat  as  a soft  enamel  applied  in  high  relief.  But  the 
china  painter  who  understands  his  kiln,  the  hot  places  and  the  cool 
places,  does  not  need  the  cone  system  for  accuracy. 

It  might  be  well  to  state  here  that  it  is  possible  in  this  present 
day  of  progress  to  procure  kilns  equipped  for  either  oil  or  gas  that  have 
perfectly  even  distribution  of  heat  and  the  china  decorator  whether 
working  in  enamels  or  not,  can  make  no  better  investment  than  to  ob- 
tain such  a kiln  if  he  is  eager  to  work  out  something  really  good  in 
ceramic  work. 


31 


GERMAN  CHINA  TOBACCO  JAR,  NO.  15. 

Decoration : Poppy  motive.  Entire  design  carried  out  in  Rouen  Blue  Enamel. 

This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


32 


( 


i%  Wordl  about  tlhe 


HffiFSi 

darnels 


I 'HESE  products  are  the  culmination  of 
A twenty  years’  experiment  and  experience 
by  Dorothea  Warren  O’Hara. 

The  motive  underlying  this  long  study  was 
to  produce  enamels  and  colors,  ready-prepared, 
that  would  eliminate  all  uncertainty  and  danger 
of  failure  even  when  used  by  the  beginner. 

The  Warren-O’Hara  enamels  come  in 
forty-seven  colors  and  shades  ready  for  use. 
1 here  is  no  mixing,  fixing  or  fussing  required, 
and  the  range  of  colors  gives  the  exact  shade 
desired. 

1 hese  enamels,  if  properly  applied,  positive- 
ly will  not  chip,  blister  or  peel.  The  colors 
develop  uniformly  during  firing. 

They  are  on  sale  at  all  artists’  materials 
stores — or  address, 

Warren-O'Hara  Color  Company 
132  EAST  19th  STREET 
New  York  City 


Madison  Square  Press,  New  Yor 


% 


L 


SATSUMA  TOBACCO  JAR,  NO.  21. 

Decoration:  Iris.  Flower:  Reamhite  No.  1 Enamel  for  light 

Lavender  Enamel  for  dark  part.  Leaves:  Green  Enamel  No. 

ground:  Dark  Blue  Enamel. 


part  and 
2.  Back- 


This  design  copyrighted  1912  by  Dorothea  Warren  O'Hara. 


4? 


p 


. # 


■ 


K 


SATSUMA  BOWL,  NO.  18. 


Decoration:  Persian  motive.  Done  in  Dark  Blue  Enamel,  and  Blue 

Green  Enamel. 


Phis  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


INDIVIDUAL  BREAKFAST  SET,  NO.  22. 

Flat  enamels.  Described  in  Example  No.  9 in  book. 


design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


BELLEEK  PITCHER,  NO,  16. 

This  pitcher  from  New  Jersey  China  Pottery  Co.  (Willett’s)  of  Trenton, 
New  Jersey.  After  original  drawing  by  Mrs.  Dorothea  Warren  O'Hara. 

Decoration:  Six  hanging  baskets  of  fruit  and  leaves.  Baskets,  bands 

and  panels  done  in  Brown  Enamel.  Panels  at  top  and  bottom,  also  handle, 
tinted  with  Satsuma  color.  Leaves:  Blue  Green  Enamel.  Pineapple:  Persian 
Red.  Large  dark  apples:  Dark  Yellow  Enamel.  Large  light  apples:  Light 
Yellow  Enamel.  Small  dark  apples:  Rhodian  Red.  Pears:  Dull  Yellow 

Enamel. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


\ 


FRENCH  CHINA  FERN  DISH,  NO.  20. 

Decoration:  Baskets  of  fruit  and  flowers.  Done  in  Flat  Enamels.  Flat 
Enamels  are  made  by  mixing  glaze  with  color;  note  proportions.  Baskets, 
Leaves,  Stems,  Large  Apples  and  Gra  les  are  all  done  in  Apple  Green  color, 
five  parts  to  one  part  Gray  Green  Glaze.  Flowers  and  Pomegranates.  Dark 
Yellow  color,  four  parts  and  one  part  Soft  Yellow  Glaze.  Pineapples,  Kawmo 
color,  four  parts  to  one  part  Soft  Yellow  Glaze.  Tint  on  fernery  is  made 
of  Copenhagen  Gray  color  three  parts,  to  one  part  Pearl  Gray  color. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


(Diameter  at  top.  12(4  inches,  bottom,  8(4  inches,  height,  4I4  inches.) 
Decoration:  Peacock  tail  motive  and  quaint  flower  combined.  Enamels 

used  in  Peacoyk  Tail:  Dark  Blue,  Blue  Green,  Green  No.  1,  Old  Egyptian 
Turquoise  Blue,  and  Dull  Violet.  Flowers:  Pink  No.  1 and  Pink  No.  2 

Enamels.  Leaves:  Green  No.  1 and  New  Green. 


LARGE  SATSUMA  BOWL,  NO.  19. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


BELLEEK  VASE,  NO.  17. 

Baskets  of  flowers:  Baskets:  done  in  Dark  Blue  Enamel.  Flowers:  done 
in  Pink,  No.  2 Enamel,  Deep  Pink  Enamel,  Light  Yellow  Enamel,  Dull  Yel- 
low Enamel,  Lavender  Enamel,  Dull  Violet  Enamel,  Turquoise  Enamel,  and 
Old  Egyptian  Turquoise  Enamel.  Leaves:  Green  No.  1 Enamel,  Green  No. 
2 Enamel  and  New  Green  Enamel.  Stems:  same  as  leaves. 

Only  the  baskets  and  flowers  are  done  in  enamels,  the  other  decoration 
is  gold,  with  tint  of  Dark  Brown  color  behind  flowers. 


This  design  copyrighted  1912  by  Dorothea  Warren  O’Hara. 


GETTY  CENTER  LIBRARY 


3 3125  00713  5755 


Grays. 


148  Pearl  Gray 25c 

149  Yellow  Gray 25c 

150  (Discontinued) 

151  Copenhagen  Gray 25c 

152  Dark  Gray 20c 

Blacks. 

153  Black 20c 

154  Outlining  Black .30c 

155  Hard  Black 20c 

Matts. 

156  Matt  Old  Ivory 25c 

157  Matt  Bronze  Green 25c 

158  Matt  Wedgwood  Blue 25c 

159  Matt  Red 25c 

160  Matt  Pink 25c 


WE  GUARANTEE  PERFECT 
RESULTS  AND  WILL  PROMPT- 
LY REFUND  PURCHASE  PRICE 
IF  DISSATISFIED.  UNDER  THIS 
METHOD  OF  DOING  BUSINESS 
YOU  TAKE  NO  RISK. 


February,  1914. 


M&txtntv 


POTTERY  SUPPLIES 
AND 

EQUIPMENT  FOR 
SCHOOLS,  STUDIOS 
AND 

LABORATORIES 


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MADISON  AND  ROBEY  STREETS 
CHICAGO.  ILL. 


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KERAMIC  POTTERY  KILNS 


Send  for  Bulletin  No.  350. 


WHEELS 

The  Lewis  potter’s  wheel  is  adapted  to  amateur 
and  school  work,  made  for  foot  power. 


Price  $17.00 

With  Clay  Guards 20.00 


3 


BEST  MAIDE  POTTERY  GRINDERS 

Nos.  50,  51  and  52 


No.  50.  Size  of  Wheel  4x154xtV  Price. . . .$11.00 

No.  51.  Size  of  Wheel  5x154xtg.  Price....  12.00 

No.  52.  Size  of  Wheel  6x1^xt7g.  Price....  13.50 

Can  be  used  in  upright  position. 

GRINDING  AND  MIXING  MILLS 

Little  Trojan 

These  Pebble  Mills  are 
the  only  Mills  whereby 
all  kinds  of  colors,  chem- 
icals, oxides,  etc.,  can  be 
reduced  to  an  absolutely 
fine  powder  without  fur- 
ther grinding  and  mixing. 
The  Jars  are  of  the  hardest  non-porous  por- 
celain and  constant  use  will  not  wear  them  out. 
No.  1 Sample  Mill,  single  jar  (power).  Per 

piece  $15.00 

No.  2 Sample  Mill,  double  jar  (power).  Per 

piece  20.00 

Nos.  1 and  2 will  grind  from  % oz.  to  ljd  lbs. 
of  color  at  a time. 

Jars  only  for  Nos.  1 and  2 $ 7.25 

Little  Trojan  Mill,  single  jar.  Per  piece...  30.00 
Will  grind  from  % to  5 lbs.  of  color  at  a time. 


4 


CLAYCRAFT  POTTERY 


For  still-life  studies  and  home  and  school  deco- 
ration. 

Special  sets  made  to  order. 


Set  No.  1 ...$12.00 


PREPARED  COLORED  GLAZES 

Ready  for  use,  to  be  mixed  with  water  to  the 
consistency  of  cream,  then  lawned. 

These  glazes  require  a heat  of  about  1050  de- 
grees centigrade,  cone  05  down. 


No.  A.G.  Per  lb. 

1 Clear  $0.40 

2 Blue,  Light 50 

3 Blue,  Dark  50 

4 Blue-Black  50 

5 Brown,  Light  50 

6 Walnut  Brown  .50 

7 Green,  Light  . .50 

8 Green*  Dark 50 

9 Ivory 50 

10  Mulberry  . .50 

11  Black  55 

12'  Yellow,  Light  55 

13  Yellow,  Dark 55 

14  White  Enamel  55 

15  Red  '.75 

16  Rose  75 

17  Orange  55 

No.  A.M.  MATT  GLAZES  per  lb. 

1 Clear  $0.45 

2 Blue,  Light 50 

3 Blue,  Dark  . .50 

4 Brown,  Light 50 

5 Brown,  Dark  50 

6 Green,  Light  50 

7 Green,  Dark 50 

8 Ivory 50 

9 Mulberry  50 

10  Black  55 

11  Yellow,  L:ght  55 

12  Yellow,  Dark 55 

13  White  50 

14  Red  75 

15  Rose  75 

16  Orange . .55 


Special  glazes  made  to  order. 


6 


GLOSS  ENAMELS 


No.  A.E.  Per  lb. 

1 Blue,  Light  $0.75 

2 Blue,  Dark  75 

3 Brown  75 

4 Yellow  75 

5 Green,  Light  75 

6 Green,  Dark 75 

7 Rose  1.50 

8 Pink  1.00 

9 Turquoise  LOO 

10  Brown  75 

11  Purple  LOO 

12  Lilac  . LOO 

UNDERGLAZE  COLORS 

No.  U.G.  Peroz. 

1 White  ..$0.20 

2 Black  20 

3 Blue,  Light .20 

4 Blue,  Dark 20 

5 Brown,  Light 15 

6 Brown,  Dark  15 

7 Green,  Grass  15 

8 Green,  Apple  15 

9 Yellow,  Light  15 

10  Yellow,  Dark 15 

11  Orange  15 

12  Rose,  Alpine  30 

13  Red  30 

14  Turquoise  25 

15  Lilac  25 

Sample  collection  of  the  above  underglaze 
colors  3.00 


7 


m A 


CLAYS 

Moist  Potters’  Clay,  per  bbl.,  400  lbs $10.00 

Moist  Potters’  Clay,  25  to  200  lbs.,  per  lb 03 

Moist  Modeling  Clay,  per  bbl.,  400  lbs 10.00 

Moist  Modeling  Clay,  25  to  200  lbs.,  per  lb..  .03 

Moist  Terra  Cotta  Red  Clay,  per  lb 03 

Dry  Powdered  Modeling  Clay,  5-lb.  bags...  .25 

Dry  Powdered  Potters’  Clay,  5-lb.  bags 25 

Prepared  White  China  Clay,  per  lb 10 

The  above  clays  will  not  crack  in  drying  or 
firing. 

No.  1 High  Temperature  Fire  Clay  (for 

mending  muffles),  per  lb $0.15 

No.  2 Sagger  or  Muffle  Clay,  per  lb 05 

No.  3 Fire  Clay,  per  lb 03 

No.  4 High  Fire  Cement  (for  mending  kiln 

linings),  per  lb 10 

Asbestos  Cement,  100-lb.  bags 2.50 

COMPACT  MODELING  WAX 

1-lb.  containers,  per  lb $0.55 

5 and  10-lb.  containers,  per  lb 50 

100-lb.  tubs,  per  lb 48 

Pormodello,  1-lb.  cans 60 

TOOLS  AND  SUPPLIES  Each 

Wheel  Tools  (for  plaster  or  clay),  R.  & L..  .$0.75 

Steel  Finishing  Tools 05 

Boxwood  Modeling  Tools  for  wax  or  clay.  . . .15 

Boxwood  Modeling  Tools  with  wire  end 35 

All  Steel  Modeling  Tools  for  insizing 50 

Plaster  Finishing  Scrapers,  214-inch 50 

Palette  Knives,  3-inch  blades 40 

No.  1 Sable  Hair  Underglaze  Brushes 15 

No.  2 Sable  Hair  Underglaze  Brushes 25 

No.  1 Camel  Hair  Glaze  Brushes 25 

No.  2 Camel  Hair  Glaze  Brushes 25 

Enamel  Glaze  Pans 50 

Enamel  Glaze  Cups 15 

No.  1 Silk  Finishing  Sponges 15 

No.  2 Silk  Finishing  Sponges 25 


8 


Glaze  Sprayer  1.50 

Extra  Glass  Containers 50 

White  Rubber  Gloves,  per  pair 3.50 

Bronze  Wire  Sieve  for  Lawning  Glazes  and 
Clays  furnished  in  100  mesh. 

6-inches  square  (for  glaze)  $3.00 

8 inches  square  (for  clay)  4.00 

China  Marking  Pencils,  each $0.15 

Pyrometric  Cones,  Nos.  08  to  01,  per  doz...  .36 

Double  Pointed  Stilts,  Nos.  1 to  8,  per  gross.  1.25 

Double  Pointed  Stilts,  Nos.  1 to  8,  per  doz.  . . .12 

Double  Pointed  Stilts,  Nos.  9 to  12,  per  doz. . .25 

STONEWARE  JARS 

1 gal.  for  storing  glaze,  each $0.25 

2 gal.  for  storing  glaze,  each 50 

10  gal.  for  storing  slip  or  clay 3.50 

15  gal.  for  storing  slip  or  clay 5.00 

20  gal.  for  storing  slip  or  clay 6.50 

Crating  extra. 

PLASTER  MODELING  PLAQUES 

4-inch,  each  $0.05 

6-inch,  each  10 

8-inch,  each  15 

10-inch,  each  20 

12-inch,  each  30 

Superfine  Plaster,  100-lb.  bags 3.00 

Plaster  Parting  Dope,  per  pt 75 


Plaster  Models  and  Moulds  made  to  order. 
Prices  on  application. 

Asbestos  Cord  for  tieing  cemented  articles 


ready  for  firing,  per  ball $2.00 

Pottery  Cement,  4-oz.  bottle 30 

Sandpaper,  Nos.  00  and  0,  per  doz.  sheets 30 

No.  1 Flexible  Ruler,  12-inch 25 

No.  2 Flexible  Ruler,  18-inch 40 

Keramic  Gauge  for  bandmg  and  Centering 

pottery  50 

Porcelain  Pallette,  7x8  with  brush  recess 75 


Porcelain  Pallette,  4F?x2x3  with  brush  recess  .35 


9 


CLAYS 


WEDGEWOOD  MORTARS  AND  PESTLES 
Guaranteed  Acid  Proof 


3 inches  across  top. 

4 inches  across  top. 

5 inches  across  top. 

6 inches  across  top. 
8 inches  across  top. 

10^2  inches  across  top. 
llpz  inches  across  top. 
14  inches  across  top. 


Capacity 

2 

oz. 

. . .$0.50 

Capacity 

6 

oz. 

...  .80 

Capacity 

10 

oz. 

...  1.10 

Capacity 

26 

oz. 

. . . 1.30 

Capacity 

56 

oz. 

. . . 2.50 

Capacity 

6 

pt. 

. . . 3.00 

Capacity 

10 

pt. 

. . . 4.00 

Capacity 

17 

pt. 

. . . 6.50 

METALIC  OXIDES,  CHEMICALS,  ETC. 

For  Pottery  Industries 

Fixed  prices  cannot  be  listed  for  this  class  of 
materials,  as  they  are  subjected  to  fluctuation. 


Acid,  Boracic 

Antimony,  Oxide  

Bone  Ash  

Borax,  Refined  

Chalk,  White,  Pwd.... 
Chrome,  Oxide,  Green. 
Clay,  Ball,  English.... 

Clay,  Ball,  Tenn 

Clay,  China,  English... 
Clay,  China,  Domestic. 

Cobalt,  Oxide  

Copper,  Oxide  

Felspar,  Powdered  . . . 

Flint,  Powdered  

Gum,  Arabic  

Gum,  Tragacanth  .... 


Iron,  Oxide  

Kaolin  

Lead,  Carbonate 

Lead,  Red,  Dry...:... 

Lead,  White,  Dry 

Magnesia,  Carbonate  . 

Magnesia,  Oxide  

Manganese,  Oxide 

Rutile,  Powdered  

Soda,  Silicate  

Tin  Oxide  

Titanium  Oxide  

Uranium,  Oxide  

Whiting  

Zinc,  Oxide  


ELECTRIC  FIXTURES  FOR  POTTERY 
LAMP  BASES 

Prices  on  application. 

POTTERS’  THROWING  WHEELS 
POTTER’S  KICK  WHEELS 

Prices  on  application. 

Pottery  Vases  fitted  and  wired  for  electric  table 
lamps. 


10 


ELECTRIC  STOVE 


A complete  electric  stove  that  may  be  used  for 
toasting  or  cooking.  Made  at  Lewis  Institute  in 
the  Pottery  Department.  Price $4.00 

COMPARATIVE  TEMPERATURES 

Cone 

013  Enamel  Colors  (Regular  Kiln). 

Liquid  Gold  and  Silver  and  Lustres. 

Oil  Enamel  Colors  (Hard  Kiln). 

07  Majolica  Colors  and  Colored  Glazes. 

05  Earthenware  and  English  China  Glazes. 

04  Hard  Earthenware  Glazes. 

03  Easy  Earthenware  Biscuit. 

02  Hard  Earthenware  Biscuit. 

4 Granite  Biscuit,  Soft  Brick  Glazes  and  Stone- 
ware. 

7 English  China  Biscuit,  Hard  Brick  Glaze 
(Fusing  Point  of  Feldspar). 

9 German  and  Chinese  Porcelain  (Fusing  Point 
of  Cornwall  Stone). 

12  German  and  French  Hard  Porcelain. 

14  Sevres  Hard  Porcelain. 

17  Copenhagen  Porcelain. 


11 


CLAYS 


PYROMETRIC  CONES  WITH  CORRE- 
SPONDING TEMPERATURES 


Fus: 

Cone 

ing  Point 

Cone 

Fusing  Point 

N!o. 

Celsius 

Fahr. 

No. 

Celsius 

Fahr. 

013 

860 

1580 

4 

1210 

2210 

012 

890 

1634 

5 

1230 

2246 

Oil 

920 

1688 

6 

1250 

2282 

010 

950 

1742 

7 

1270 

2318 

09 

970 

1778 

8 

1290 

2354 

08 

990 

1814 

9 

1310 

2390 

07 

1010 

1850 

10 

1330 

2426 

06 

1030 

1886 

11 

1350 

2462 

05 

1050 

1922 

12 

1370 

2498 

04 

1070 

1958 

13 

1390 

2534 

03 

1090 

1994 

14 

1410 

2570 

02 

1110 

2030 

15 

1430 

2606 

01 

1130 

2066 

16 

1450 

2642 

1 

1150 

2102 

17 

1470 

2678 

2 

3 

1170 

1190 

2138 

2174 

18 

1490 

2714 

PUBLICATIONS 

Instructive  and  Technical 


*Potters‘  Craft.  Chas.  F.  Binns $2,50 

Manual  of  Practical  Pottery.  Chas.  F.  Binns  8.00 

A Treatise  on  Ceramic  Industries.  Emile 
Bourry  . . . . 6.00 

Grand  Few  Ceramics.  Taxile  Doat 5.00 

Book  of  Cups  and  Saucers 1.10 

Book  of  Little  Things  to  Make 1.50 

Pottery  for  Artists,  Craftsmen  and  Teachers. 

Geo.  J.  Cox 2.20 

*Lunn’s  Practical  Pottery.  2 Vols.  (Or  sold 
singly,  $2.65  each) 5.25 


Permodello  Modeling.  Snow  & Froehlich...  1.60 
^Recommended  as  text-books  for  Pottery  Courses. 

12 


V 


FREE  INFORMATION  on  an 

pottery  problems  you  may  have, 


We  will  gladly  help  you  in  solving  your 
Making,  Firing  and  Glazing  troubles. 

WM.  W.  WILKINS 


IT’S 

Dorothea 

Warren-O’Hara’s 

That's  all  you  need  to  know  about 

ENAMELS  and  COLORS 

For  Decorating  China 

SOFT— HARD— EXTRA  HARD 

We  could  easily  put  them  up  to  sell  at  a 
smaller  price,  at  a greater  profit  to  us, 
by  merely  adding  certain  harmless,  and 
equally  worthless,  ingredients  that  cost 
practically  nothing — but  we  won’t. 

Our  goods  measure  up  to  a standard. 

They  are 

RELIABLE 
EASILY  APPLIED 
SURE  OF  SUCCESS 

Packed  in  large,  tightly  filled  vials,  this  means 

THE  ECONOMY  OF  THE  BEST 

Made  BY  us — Not  FOR  us 

Warren-O’Hara  Color  Co. 

132  East  19th  Street  New  York  City 


DOROTHEA  WARREN-O’HARA’S 
ENAMELS 

Always  the  same  because  made  under  Formulas 

Twenty  years  of  study  and  experience  have 
gone  into  the  formulas  by  which  these  enamels 
are  made.  Their  success,  efficiency,  and  certain 
satisfaction  have  long  since  been  demonstrated. 
These  Enamels  render  useless  the  experiments  and 
uncertainties  involved  in  testing  and  preparing 
Enamels.  Despite  the  many  formulas  given  in 
books  and  printed  in  Art  Magazines,  the  ceramic 
artist  who  prepares  her  own  enamels  is  risking  time 
and  the  value  of  the  piece,  with  only  a slight  chance 
of  success.  She  even  takes  a greater  risk  when 
using  the  many  so-called  prepared  enamels. 

Failure  is  impossible  if  the  following  instructions, 
as  to  mixing,  are  adhered  to: 

MIXING  ENAMELS,  BOTH  SOFT  AND 
HARD 

1.  Place  your  enamel  on  a clean  ground  glass  slab. 
Add  enough  Warren’s  Enamel  Medium  to  gather 
together,  and  thin  with  a good  quality  of  turpentine 
(observe  that  the  turpentine  is  not  oily).  Fat  oil, 
which  comes  from  turpentine,  often  causes  the 
enamel  to  blister. 

2.  Enamel  should  be  ground  until  creamy;  it 
is  much  easier  to  float  when  thoroughly  ground, 
and  certainly  looks  better  when  fired. 

3.  After  your  enamel  has  been  floated  on  if  it 
seems  inclined  to  rim,  you  have  used  too  much 
enamel  medium,  or  your  turpentine  was  oily. 

4.  Enamel  should  look  dull  a few  minutes  after 
it  has  been  applied  showing  that  it  has  begun  to 
dry  out.  If  it  retains  the  highly  glazed  appearance 
it  has  when  first  applied,  you  have  used  too  much 
enamel  medium. 


5.  Enamel  should  be  thinned  out  with  turpentine 
to  the  consistency  of  cream  when  ready  to  float  on, 
and  should  be  floated  on  with  an  outlining  brush 
or  small  water-color  brush.  A short  wavy  stroke 
is  used  in  floating  the  enamel.  Use  plenty  of  tur- 
pentine and  do  not  let  your  brush  get  clogged  with 
the  enamel. 

6.  Hard  enamels  on  hard  glazes  are  more  artistic 
if  applied  THINLY,  and  should  never  be  used 
otherwise. 

FLAT  ENAMELS  are  made  by  mixing  glaze 
with  color.  The  usual  amount  is  one  part  glaze  to 
five  parts  color.  Use  pink  glaze  for  all  pink  colors; 
yellow  glaze  for  all  yellow  colors,  etc.,  etc.  Flat 
enamels  are  not  mixed  with  Warren's  Enamel  Medi- 
um. Instead  use  Warren’s  Painting  Medium. 

The  secret  of  good  enamel  work  is  to  choose  an 
enamel  which  suits  your  glaze.  Soft  enamels  be- 
long to  the  soft  glaze  wares,  such  as  Satsuma,  Bel- 
leek,  English  China,  Soft  German  China,  etc.,  and 
may  be  raised  in  relief  as  high  as  desired  with  the 
feeling  of  true  appropriateness  if  used  on  a China 
with  which  they  agree. 

HARD  ENAMELS  are  made  to  fit  hard  glazes, 
such  as  French,  German  China,  etc.,  and  should 
NOT  be  applied  in  HIGH  RELIEF. 

FIRING 

SOFT  ENAMELS:  When  used  on  soft  glazes 
may  be  fired  a number  of  times  without  fear  of 
chipping  off.  They  should  not  be  fired  higher  than 
a gold  heat,  less  the  enamel  loses  by  sinking  into 
the  glaze.  In  such  an  instance  another  application 
of  enamel  is  required  to  bring  it  out.  If  soft  enamels 
come  from  the  kiln  dull  and  not  smooth  to  the  touch, 
they  are  underfired  and  should  be  fired  again;  this 
time  rather  hard  as  an  underfired  enamel  needs 
greater  heat  to  bring  it  out  than  it  would  require 
had  it  not  been  underfired. 

HARD  ENAMELS:  Require  a hard  kiln  if  they 
are  to  be  fired  but  once  which  is  much  the  better 


way,  but  if  you  wish  to  tone  with  color  or  add  more 
enamel  you  should  rather  underfire  until  the  last 
fire,  to  prevent  chipping  off,  which  sometimes  hap- 
pens when  the  glaze  is  very  hard. 

FLAT  ENAMELS:  Flat  enamels  made  by  mix- 
ing gl'aze  with  colors  require  about  the  same  kiln 
as  soft  enamels. 

Extra  Hard  Enamels. 

(Soft  Pastel  Shades) 

A Rose  Pink J 30c 

B Yellow  No.  1 25c 

C Yellow  No.  2 30c 

D Red 40c 

E Light  Violet 30c 

F Dark  Violet 25c 

G Baby  Blue 25c 

H Ming  Blue 40c 

I Old  Blue ..35c 

J Pastel  Blue 35c 

K Gray 30c 

L Apple  Green ..30c 

M Moss  Green 35c 

N Emerald  Green 30c 

O Brown  Green 25c 

P White 20c 


Enamels  Ready  to  Use  on  Satsuma,  Bel- 
leek,  Soft  German  and  English  China. 

V-l  Old  Chinese  Pink  Enamel  (soft) 65c 

2 Pink  Enamel  No.  1 (soft) 40c 

u.,3  Pink  Enamel  No.  2 (soft) 65c 

4 Deep  Pink  Enamel  (soft) 60c  ^ 

5 Persian  Red  Enamel  (soft) 65c 

06*  Rhodian  Red  Enamel  (soft) 65c 

^ Light  Yellow  Enamel  (soft) 40c 

8 Dark  Yellow  Enamel  (soft) 40c 

SUDull  Yellow  Enamel  (soft) 40c 

* 10  Brown  Enamel  (soft) 40c 

11  Lavender  Enamel  (soft) 40c 

12  Violet  Enamel  No.  1 (soft) 50c 

13  Dull  Violet  Enamel  (soft) 40c 


, ,fO/5  A * 0 „ fi- 


14  Gray  Violet  Enamel  (soft) 40c 

15  Old  Chinese  Blue  Enamel  (soft) 65c 

.-16  Dark  Blue  Enamel  (soft) 65c  £ 

„Jt6aManchu  Blue  Enamel  (soft) 40c 

i 17  Turquoise  Blue  Enamel  (soft) 30c 

ui&  Old  Egyptian  Turquoise  Enamel  (soft) 65c 

^j^^O^Green  Enamel  No.  1 (soft) 65c 

Green  Enamel  No.  2 (soft) 65c  )/ 

20aNew  Green  Enamel  (soft) 40c 

21  Blue  Green  Enamel  (soft) 65c 

22  Manganese  Enamel  (soft) 65c 

23  Reamhite  Enamel  No.  1 (soft) 30c 

24  Reamhite  Enamel  No.  2 (soft) 30c 

24aBlack  Enamel  (soft) 25c 

25  Wareno  White  Enamel  (soft) 25c 


Enamels  Ready  to  Use  on  French  Porce- 
lain and  Other  Hard  Glaze  China. 


26  Pink  Enamel  (hard) 40c 

27  Golden  Pink  Enamel  (hard) 65c 

28  Yellow  Enamel  (hard)  .. 40c 

29  Old  Yellow  Enamel  (hard) 65c 

30  Lakey  Red  Enamel  (hard) 65c 

31  Pale  Lilac  Enamel  (hard) 40c 

32  Mauvine  Enamel  (hard) 50c 

33  Sevres  Blue  Enamel  (hard) 40c 

34  Rouen  Blue  Enamel  (hard) 50c 

35  Cobalt  Blue  Enamel  (hard) 50c 

36  Meadow  Green  Enamel  (hard) 65c 

37  Light  Green  Enamel  (hard) 50c 

38  Neutral  Green  Enamel  (hard) 65c 

39  Dull  Blue  Green  Enamel  (hard) 65c 

40  Wareno  White  Enamel  No.  1 (hard) 25c 

41  (Discontinued) 


Glazes  for  Underglaze  Effects. 


42  Waterloo  Glaze 40c 

43  Blue  Glaze 30c 

44  Gray  Green  Glaze 30c 

45  (Discontinued) 

46  Soft  Yellow  Glaze 40c 

47  Pink  Glaze 20c 


Miscellaneous. 


48  Paste  for  Raised  Gold 30c 

49  Relief  White 20c 

50  Flux 15c 

Mediums. 

51  Warren’s  Enamel 30c 

52  Warren’s  Tinting 25c 

53  Warren’s  Painting 20c 

54  Warren’s  Outlining 15c 

55  Warren’s  Raised  Paste 15c 

56  Warren’s  Gold 15c 


Overglaze  Colors  for  Porcelain. 
Yellows. 

100  Ivory 25c 

101  Ivory  Yellow 25c 

102  Lemon  Yellow 25c 

103  (Discontinued) 

104  Albert  Yellow. 25c 

Browns. 

105  Yellow  Brown 15c 

106  Nutter  Brown 25c 

107  Dark  Brown 25c 

108  Rich  Brown 20c 

109  Finishing  Brown 20c 

Greens. 

110  Gray  Green 15c 

111  Apple  Green 15c 

112  Discontinued 

113  Golden  Green 20c 

114  Yellow  Green 25c 

115  Brown  Green 20c 

116  Shading  Green 25c 

117  (Discontinued) 

118  Grass  Green 20c 

119  Dark  Green 20c 

120  Blue  Green 30c 


Greens — Continued. 


121  (Discontinued) 

122  Persian  Green 20c 

123  Celadon 25c 

Reds. 

124  Yellow  Red 25c 

125  Blood  Red 25c 

126  (Discontinued) 

127  Warhara  Red 30c 

128  (Discontinued) 

129  Carnation 20c 

130  Pompadour 20c 

Specials. 

131  Kawmo 35c 

132  Satsuma 65c 

Violets. 

133  Violet 40c 

134  Blue  Violet 40c 

Rubys. 

135  Ruby 75c 

136  Warren  Crimson 80c 

Pinks. 

137  Pink  No.  1 25c 

138  Pink  No.  2 25c 

139  Rose  (hard  fire) 50c 

Blues. 

140  Dorothea  Blue 35c 

141  (Discontinued) 

142  Royal  Blue 75c 

143  (Discontinued) 

144  Copenhagen  Blue  (Warren  spec.) 40c 

145  (Discontinued) 

146  Banding  Blue 25c 

147  Holland  Blue 20c 


Grays. 


148  Pearl  Gray 25c 

149  Yellow  Gray 25c 

150  (Discontinued) 

151  Copenhagen  Gray 25c 

152  Dark  Gray 20c 


Blacks. 


153  Black.  

154  Outlining  Black 

155  Hard  Black.  . . . 


Matts. 


156  Matt  Old  Ivory 

157  Matt  Bronze  Green . . 

158  Matt  Wedgwood  Blue 

159  Matt  Red 

160  Matt  Pink 


20c 

30c 

20c 


25c 

25c 

25c 

25c 

25c 


WE  GUARANTEE  PERFECT 
RESULTS  AND  WILL  PROMPT- 
LY REFUND  PURCHASE  PRICE 
IF  DISSATISFIED.  UNDER  THIS 
METHOD  OF  DOING  BUSINESS 
YOU  TAKE  NO  RISK. 


February,  1914. 


Dorothea  Warren-O’Hara’s 


ENAMELS 


For  Decorating  All  Kinds  of  China 


ARE  RELIABLE 
EASILY  APPLIED 
SURE  OF  SUCCESS 

Put  up  in  Convenient  Litho- 
graphic Containers,  this  means 
the  ECONOMY  of  the  BEST ! 
Made  BY  Us— Not  FOR  Us! 


ing,  or  trouble  to  fill.  Because  of  this  and 
the  tremendous  difference  in  time  saved 
over  packing  in  vials,  we  are  able  to  give 
more  material  for  same  price, making  our 
line  the  most  economical  when  quality 
is  considered. 

The  containers  are  not  filled  to  the  top, 
because  nine  out  of  ten  would  spill  con- 
tents in  opening,  hence  we  had  them 
made  larger. 

We  guarantee  perfect  results  and  will 
cheerfully  and  promptly  refund  pur- 
chase price  if  dissatisfied. 


Actual  Size 


breakage,  waste,  labeling,  cork- 


WARREN-O’HARA 
COLOR  COMPANY 

NEWYORK  CITY,  N.Y. 


WAR  REN- O’HARA  COLOR  COMPANY 


Dorothea 

Warren-O’Hara’s  Enamels 

1WENTY  YEARS  of  study  and  ex- 
perience have  gone  into  the  formulas 
by  which  these  Enamels  are  made. 
Their  success,  efficiency,  and  certain 
satisfaction  have  long  since  been  de- 
monstrated. These  Enamels  render  useless 
the  experiments  and  uncertainties  involved 
in  testing  and  preparing  Enamels.  Despite 
the  many  formulas  given  in  books  and 
printed  in  Art  Magazines,  the  ceramic  ar- 
tist who  prepares  her  own  Enamels  is  risk- 
ing time  and  the  value  of  the  piece,  with 
only  a slight  chance  of  success.  She  even 
takes  a greater  risk  when  using  the  many 
so-called  prepared  Enamels. 

Failure  is  impossible  if  the  following  in- 
structions, as  to  mixing,  are  adhered  to: 


MIXING  ENAMELS 
BOTH  SOFT  AND  HARD 

1.  Place  your  Enamel  on  a clean  ground 
glass  slab.  Add  enough  Warren’s  Enamel 
Medium  to  gather  together,  and  thin  with  a 
good  quality  of  turpentine  (observe  that  the 
turpentine  is  not  oily).  Fat  oil,  which  comes 
from  turpentine,  often  causes  the  Enamel  to 
blister. 

2.  Enamel  should  be  ground  until  creamy; 
it  is  much  easier  to  float  when  thoroughly 
ground,  and  certainly  looks  better  when 
fired. 

3.  After  your  Enamel  has  been  floated  on, 
if  it  seems  inclined  to  run,  you  have  used 
too  much  Enamel  Medium,  or  your  turpen- 
tine was  oily. 

4.  Enamel  should  look  dull  a few  minutes 
after  it  has  been  applied,  showing  that  it 
has  begun  to  dry  out.  If  it  retains  the  high- 
ly glazed  appearance  it  has  when  first  ap- 
plied, you  have  used  too  much  Enamel  Me- 
dium. 

5.  Enamel  should  be  thinned  out  with  tur- 
pentine to  the  consistency  of  cream  when 
ready  to  float  on,  and  should  be  floated  on 
with  a red  sable  brush,  known  as  “China 
Liner  No.  2.”  A short  wavy  stroke  is  used 
in  floating  the  Enamel.  Use  plenty  of  tur- 
pentine and  do  not  let  your  brush  get  clog- 
ged with  the  Enamel. 

6.  Hard  Enamels  on  hard  glazes  are  more 
artistic  if  applied  THINLY,  and  should 
never  be  used  otherwise. 


2 


WAR  RE  N-O’H  A R A COLOR  COMPANY 


FLAT  ENAMELS  are  made  by  mixing 
glaze  with  color.  The  usual  amount  is  one 
part  glaze  to  five  parts  color.  Use  pink 
glaze  for  all  pink  colors;  yellow  glaze  for 
all  yellow  colors,  etc.,  etc.  Flat  Enamels 
are  not  mixed  with  Warren’s  Enamel  Me- 
dium. Instead  use  Warren’s  Painting  Me- 
dium. 

The  secret  of  good  Enamel  work  is  to 
choose  an  Enamel  which  suits  your  glaze. 
Soft  Enamels  belong  to  the  soft  glaze 
wares,  such  as  Satsuma,  Belleek,  etc.,  and 
may  be  raised  in  relief  as  high  as  desired. 

HARD  ENAMELS  are  made  to  fit  hard 
glazes,  such  as  French,  German  China,  etc., 
and  should  be  applied  in  very  low  relief. 


FIRING 

SOFT  ENAMELS:  When  used  on  soft 
glazes  may  be  fired  a number  of  times  with- 
out fear  of  chipping  off.  They  should  not 
be  fired  higher  than  a gold  heat,  lest  the 
Enamel  loses  by  sinking  into  the  glaze.  In 
such  an  instance  another  application  of 
Enamel  is  required  to  bring  it  out.  If  soft 
Enamels  come  from  the  kiln  dull  and  not 
smooth  to  the  touch,  they  are  underfired 
and  should  be  fired  again;  this  time  rather 
hard  as  an  underfired  Enamel  needs  greater 
heat  to  bring  it  out  than  it  would  require 
had  it  not  been  underfired. 

HARD  ENAMELS:  Require  a hard  kiln 
if  they  are  to  be  fired  but  once,  which  is 
much  the  better  way,  but  if  you  wish  to 
tone  with  color  or  add  more  Enamel  you 
should  rather  underfire  until  the  last  fire, 
to  prevent  chipping  off,  which  sometimes 
happens  when  the  glaze  is  very  hard. 

FLAT  ENAMELS:  Flat  Enamels  made 
by  mixing  glaze  with  colors  require  about 
the  same  kiln  as  soft  Enamels. 


Always  the 
same  because  made 
under  formula 


3 


WARREN-O’H AR A COLOR  COMPANY 


£ 

Soft  Enamels 

Ready  to  Use  on  Satsuma,  Belleek 
and  All  Soft  Glaze  Ware 


Revise 

Prices 


S-200  Wareno  White  (soft) 25c 

S-201  Reamhite  (soft) 30c 

S-202  Pale  Pink  (soft  ) 40c 

S-203  Blush  Pink  (soft 65c 

S-204  Old  Chinese  Pink  (soft)  ....  65c 

S-205  Italian  Pink  (soft) 50c 

S-206  Gipsy  Pink  (soft) 50c 

S-207  Deep  Pink  (soft) 60c 

S-208  Light  Yellow  (soft) 40c 

S-209  Lemon  Yellow  (soft) 50c 

S-210  Old  Yellow  (soft) 65c 

S-211  Indian  Yellow  (soft) 50c 

S-212  Dark  Yellow  (soft) 40c 

S-213  Rhodian  Red  (soft) 65c 

S-214  Persian  Red  (soft) 65c 

S-215  Deep  Lakey  Red  (soft) 65c 

S-216  Pale  Lilac  (soft) 40c 

S-217  Dull  Violet  (soft) 40c 

S-218  Mauvine  (soft) 50c 

S-219  Gray  Violet  (soft) 40c 

S-220  Turquoise  Blue  (soft) 30c 

S-221  Old  Egyptian  Turquoise  (soft)  . 65c 

S -222  Mountain  Blue  (soft) 50c 

S -223  Celestial  Blue  (soft) 60c 

S-224  Florentine  Blue  (soft) 55c 

S-225  Manchu  Blue  (soft) 40c 

S-226  Dark  Blue  (soft) 65c 

S-227  Rouen  Blue  (soft) 50c 

S-228  Old  Chinese  Blue  (soft)  ....  65c 

S-229  Green  No.  1 (soft) 65c 

S-230  New  Green  (soft) 40c 

S-231  Medium  Green  (soft) 60c 

S-232  Bright  Sea  Green  (soft)  ....  50c 

S-233  Blue  Green  (soft) 65c 

S-234  Green  No.  2 (soft) 65c 

S-235  Night  Green  (soft) 55c 

S-236  Brown  (soft) 40c 

S-237  Brilliant  Black  (soft) 55c 


35c 
40c 
50c 
75c 
75c 
60c 
60c 
70c 
50c 
65c 
75c 
60c 
65c 
75c 
75c 
75c 
55c 
50c 
60c 
50c 
60c 
1.00 
65c 
75c 
65c 
65  c 
75c 
65c 
1.00 
1.C0 
60c 
75c 
65c 
75c 
1.00 
65c 
50c 
65c 


The  above  Enamels  are  for  use  on  Soft 
Glaze  Ware  Only,  and  cannot  be  used  on 
any  hard  glaze  ware  with  success. 


4 


WARREN-O’HARA  COLOR  COMPANY 


Hard  Enamels 

Ready  to  Use  on  French,  German 
and  all  Hard  Glaze  Ware 


H-300 

H-301 

H-302 

H-303 

H-304 

H-305 

H-306 

H-307 

H-308 

H-309 

H-310 

H-311 

H-312 

H-313 

H-314 

H-315 

H 316 

H-317 

H-318 

H-319 

H-320 

H-321 

H-322 

H-323 

H-324 

H-325 

H-326 

H-327 

H-328 

H-329 

H-330 

H-331 

H-332 

H-333 

H-334 

H-335 

H-336 


Tusken  Ivory  (hard)  . 
Greenish  Yellow  (hard) 


Pumpkin  Yellow  (hard) 


Sunset  Gray  (hard) 


Pomegranate  Red  (hard) 


Persian  Turquoise  (hard) 


Deep  Indian  Blue  (hard) 


River  Green  (hard) 


Chinese  Green  (hard) 


Revised 

Prices 

25c 

35c 

40c 

55c 

45c 

60c 

30c 

40c 

35c 

45c 

50c 

60  c 

65  c 

75c 

30c 

45c 

60  c 

75  c 

65  c 

75c 

30c 

40c 

25c 

50c 

65c 

75c 

45c 

55c 

30c 

60c 

50c 

60c 

60  c 

75c 

75c 

85c 

40c 

60c 

25c 

40c 

45  c 

55c 

35c 

45c 

60c 

75c 

70c 

75c 

40  c 

55c 

35c 

60c 

65c 

75c 

30c 

40c 

50c 

60c 

35c 

45c 

45  c 

55c 

40c 

55c 

65c 

25c 

40c 

60  c 

70c 

40c 

50c 

55  c 

90c 

The  above  Enamels  are  for  use  on  French, 
German  and 

ALL  HARD  GLAZE  WARE 


WARREN-O’HARA  COLOR  COMPANY 


The  Hard  Enamels  listed  on  preceding 
page  may  also  be  used  on  soft  glaze  ware. 
They  are  not  intended,  however,  to  take  the 
place  of  the  brilliant  soft  Enamels  invented 
by  DOROTHEA  WARREN-O’HARA,  and 
which  have  made  a new  note  in  Ceramic 
Art. 

(When  hard  Enamels  are  applied  in  high  relief  on 
soft  glaze  ware,  they  require  a harder  fire  than  when 
applied  in  very  low  relief  on  hard  glaze  ware.) 


Special 

Overglaze  Colors 

The  product  of  DOROTHEA  WARREN- 
O’HARA’S  laboratory  cannot  be  obtained 
except  through  our  Agents  or  d 
Warren-O’Hara  Color  Co. 


Warren  Crimson 


Black. 


(Catalog  of  full  line  of  Overg 
mailed  on  request) 


t from 

Revised 

Prices 

. . 25c 

40c 

75c 

. . 80c 

80c 

60c 

, . 30c 

60c 

, . 40c 

90c 

Colors 

GLAZES  FOR  UNDERGLAZE 
EFFECTS 


Waterloo  Glaze 40c 

Blue  Glaze 30c 

Gray  Green  Glaze 30c 

Soft  Yellow  Glaze.  40c 

Pink  Glaze 20c 


MEDIUMS 


Warren’s 

Enamel 

Medium  ( 

Bewc 

ire  of 

Sub  si 

:itutes)  1 

oz.,  25c;  2 oz., 

40c 

Warren’s 

Tinting 

Medium, 

1 oz. 

, 25c; 

2 oz., 

40c 

Warren’s 

Painting 

; Medium, 

1 oz. 

, 25c; 

2 oz., 

. . .'  . * 

40c 

Warren’s 

Outlining  Medium 

(-Keeps  the 

color 

open  anc 

l enables  you  to 

work 

with 

pen  as  we 

11  as  brushy 

),  1 oz 

.,s25c; 

2 oz., 

40c 

Warren’s 

Raised  1 

Paste  Med 

ium, 

I oz., 

25c; 

2 oz.,  . . 

40c 

Warren’s 

Gold  M 

edium  (Nothing  like 

it.  14 

[as  many 

advantage 

s over  any 

other 

gold  med 

Hum),  l oi, 

.,  25c; 

2 oz. 

40c 

loz.  Pc 
2oz.  6(c 
loz.  3Je 
2oz-  b(e 
loz.  31c 
26z.  6fe 


loz  3ic 
2oz.  6Cc 
loz  3!c 
2oz.  60c 


loz.  31  e 
2oz.  6(c 


6 


WAR  REN- O’HARA  COLOR  COMPANY 


National  Society  of  Craftsmen 

Arts  Club  Studios 
119  East  19th  Street,  New  York 

December  18,  1915. 

The  Committee  of  Award  of  the  National 
Arts  Club  has  authorized  me  to  announce 
that  the  Life  Membership  Prize  in  the  Na- 
tional Arts  Club  has  been  awarded  to: 

Dorothea  Warren-O’Hara. 

The  decision  of  the  Committee  is  based 
not  only  upon  the  standard  of  Mrs.  O’Hara’s 
work  shown  in  the  present  and  former  ex- 
hibitions of  the  Society,  but  upon  a scrutiny 
of  her  work  as  a whole  and  of  what  she  has 
accomplished  in  the  development  of  her 
particular  craft,  KERAMICS. 

J.  Chas.  Burdick, 

President,  National  Society  of  Craftsmen. 


A*  d* 


The  National  Arts  Club 

New  York 

Gramercy  Park,  Manhattan 

December  22,  1915. 

Mrs.  Dorothea  Warren-O’Hara, 

132  East  Nineteenth  Street, 

New  York  City. 

My  dear  Mrs.  O’Hara: 

It  gives  me  great  pleasure  to  inform  you 
that  at  a meeting  of  the  Executive  Commit- 
tee of  the  Board  of  Governors  held  this 
afternoon,  upon  the  announcement  that  the 
award  had  been  made  to  you  as  a member 
of  the  National  Society  of  Craftsmen,  of 
the  Life  Membership  Prize  for  which  pur- 
pose a One  Thousand  ($1,000)  Bond  has 
been  donated,  for  your  meritorious  work  in 
Ceramics,  you  were  unanimously  elected  to 
Life  Membership  in  the  National  Arts  Club. 

Congratulating  you  as  the  prize-winner 
and  the  Club  upon  the  enrollment  of  your 
name  in  the  Life  Membership  list,  believe 
me. 

Sincerely  yours, 

F.  S.  Lamb, 

Secretary. 


/ 


